Geometric tolerances state the maximum allowable variations of a form or its position from the perfect geometry implied in the drawing. ?->(Show Answer!)

1. Geometric tolerances state the maximum allowable variations of a form or its position from the perfect geometry implied in the drawing.

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MCQ->Geometric tolerances state the maximum allowable variations of a form or its position from the perfect geometry implied in the drawing.....

MCQ-> Modern science, exclusive of geometry, is a comparatively recent creation and can be said to have originated with Galileo and Newton. Galileo was the first scientist to recognize clearly that the only way to further our understanding of the physical world was to resort to experiment. However obvious Galileo’s contention may appear in the light of our present knowledge, it remains a fact that the Greeks, in spite of their proficiency in geometry, never seem to have realized the importance of experiment. To a certain extent this may be attributed to the crudeness of their instruments of measurement. Still an excuse of this sort can scarcely be put forward when the elementary nature of Galileo’s experiments and observations is recalled. Watching a lamp oscillate in the cathedral of Pisa, dropping bodies from the leaning tower of Pisa, rolling balls down inclined planes, noticing the magnifying effect of water in a spherical glass vase, such was the nature of Galileo’s experiments and observations. As can be seen, they might just as well have been performed by the Greeks. At any rate, it was thanks to such experiments that Galileo discovered the fundamental law of dynamics, according to which the acceleration imparted to a body is proportional to the force acting upon it.The next advance was due to Newton, the greatest scientist of all time if account be taken of his joint contributions to mathematics and physics. As a physicist, he was of course an ardent adherent of the empirical method, but his greatest title to fame lies in another direction. Prior to Newton, mathematics, chiefly in the form of geometry, had been studied as a fine art without any view to its physical applications other than in very trivial cases. But with Newton all the resources of mathematics were turned to advantage in the solution of physical problems. Thenceforth mathematics appeared as an instrument of discovery, the most powerful one known to man, multiplying the power of thought just as in the mechanical domain the lever multiplied our physical action. It is this application of mathematics to the solution of physical problems, this combination of two separate fields of investigation, which constitutes the essential characteristic of the Newtonian method. Thus problems of physics were metamorphosed into problems of mathematics.But in Newton’s day the mathematical instrument was still in a very backward state of development. In this field again Newton showed the mark of genius by inventing the integral calculus. As a result of this remarkable discovery, problems, which would have baffled Archimedes, were solved with ease. We know that in Newton’s hands this new departure in scientific method led to the discovery of the law of gravitation. But here again the real significance of Newton’s achievement lay not so much in the exact quantitative formulation of the law of attraction, as in his having established the presence of law and order at least in one important realm of nature, namely, in the motions of heavenly bodies. Nature thus exhibited rationality and was not mere blind chaos and uncertainty. To be sure, Newton’s investigations had been concerned with but a small group of natural phenomena, but it appeared unlikely that this mathematical law and order should turn out to be restricted to certain special phenomena; and the feeling was general that all the physical processes of nature would prove to be unfolding themselves according to rigorous mathematical laws.When Einstein, in 1905, published his celebrated paper on the electrodynamics of moving bodies, he remarked that the difficulties, which surrouned the equations of electrodynamics, together with the negative experiments of Michelson and others, would be obviated if we extended the validity of the Newtonian principle of the relativity of Galilean motion, which applies solely to mechanical phenomena, so as to include all manner of phenomena: electrodynamics, optical etc. When extended in this way the Newtonian principle of relativity became Einstein’s special principle of relativity. Its significance lay in its assertion that absolute Galilean motion or absolute velocity must ever escape all experimental detection. Henceforth absolute velocity should be conceived of as physically meaningless, not only in the particular ream of mechanics, as in Newton’s day, but in the entire realm of physical phenomena. Einstein’s special principle, by adding increased emphasis to this relativity of velocity, making absolute velocity metaphysically meaningless, created a still more profound distinction between velocity and accelerated or rotational motion. This latter type of motion remained absolute and real as before. It is most important to understand this point and to realize that Einstein’s special principle is merely an extension of the validity of the classical Newtonian principle to all classes of phenomena.According to the author, why did the Greeks NOT conduct experiments to understand the physical world?
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MCQ-> Since World War II, the nation-state has been regarded with approval by every political system and every ideology. In the name of modernisation in the West, of socialism in the Eastern bloc, and of development in the Third World, it was expected to guarantee the happiness of individuals as citizens and of peoples as societies. However, the state today appears to have broken down in many parts of the world. It has failed to guarantee either security or social justice, and has been unable to prevent either international wars or civil wars. Disturbed by the claims of communities within it, the nation-state tries to repress their demands and to proclaim itself as the only guarantor of security of all. In the name of national unity, territorial integrity, equality of all its citizens and non-partisan secularism, the state can use its powerful resources to reject the demands of the communities; it may even go so far as genocide to ensure that order prevails.As one observes the awakening of communities in different parts of the world, one cannot ignore the context in which identity issues arise. It is no longer a context of sealed frontiers and isolated regions but is one of integrated global systems. In a reaction to this trend towards globalisation, individuals and communities everywhere are voicing their desire to exist, to use their power of creation and to play an active part in national and international life.There are two ways in which the current upsurge in demands for the recognition of identities can be looked at. On the positive side, the efforts by certain population groups to assert their identity can be regarded as "liberation movements", challenging oppression and injustice. What these groups are doing - proclaiming that they are different, rediscovering the roots of their culture or strengthening group solidarity - may accordingly be seen as legitimate attempts to escape from their state of subjugation and enjoy a certain measure of dignity. On the downside, however, militant action for recognition tends to make such groups more deeply entrenched in their attitude and to make their cultural compartments even more watertight. The assertion of identity then starts turning into self-absorption and isolation, and is liable to slide into intolerance of others and towards ideas of "ethnic cleansing", xenophobia and violence.Whereas continuous variations among peoples prevent drawing of clear dividing lines between the groups, those militating for recognition of their group's identity arbitrarily choose a limited number of criteria such as religion, language, skin colour, and place of origin so that their members recognise themselves primarily in terms of the labels attached to the group whose existence is being asserted. This distinction between the group in question and other groups is established by simplifying the feature selected. Simplification also works by transforming groups into essences, abstractions endowed with the capacity to remain unchanged through time. In some cases, people actually act as though the group has remained unchanged and talk, for example, about the history of nations and communities as if these entities survived for centuries without changing, with the same ways of acting and thinking, the same desires, anxieties, and aspirations. Paradoxically, precisely because identity represents a simplifying fiction, creating uniform groups out of disparate people, that identity performs a cognitive function. It enables us to put names to ourselves and others, form some idea of who we are and who others are, and ascertain the place we occupy along with the others in the world and society. The current upsurge to assert the identity of groups can thus be partly explained by the cognitive function performed by identity. However, that said, people would not go along as they do, often in large numbers, with the propositions put to them, in spite of the sacrifices they entail, if there was not a very strong feeling of need for identity, a need to take stock of things and know "who we are", "where we come from", and "where we are going".Identity is thus a necessity in a constantly changing world, but it can also be a potent source of' violence and disruption. How can these two contradictory aspects of identity be reconciled? First, we must bear the arbitrary nature of identity categories in mind, not with a view to eliminating all forms of identification—which would be unrealistic since identity is a cognitive necessity—but simply to remind ourselves that each of us has several identities at the same time. Second, since tears of nostalgia are being shed over the past, we recognise that culture is constantly being recreated by cobbling together fresh and original elements and counter-cultures. There are in our own country a large number of syncretic cults wherein modern elements are blended with traditional values or people of different communities venerate saints or divinities of particular faiths. Such cults and movements are characterised by a continual inflow and outflow of members which prevent them from taking on a self-perpetuating existence of their own and hold out hope for the future, indeed, perhaps for the only possible future. Finally, the nation-state must respond to the identity urges of its constituent communities and to their legitimate quest for security and social justice. It must do so by inventing what the French philosopher and sociologist, Raymond Aron, called "peace through law". That would guarantee justice both to the state as a whole and its parts, and respect the claims of both reason and emotions. The problem is one of reconciling nationalist demands with the exercise of democracy.According to the author, happiness of individuals was expected to be guaranteed in the name of:
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MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
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MCQ-> Consider the following information and answer questions based on it. Among 60 students. 12 like only algebra, 13 like only geometry, 10 like only trigonometry, 5 like both algebra and trigonometry, 8 like only physics, 5 like both physics and geometry and the remaining like both algebra and physics.The number of students who like physics but not geometry is
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